OutrageProductions

There are only 16 MIDI channels available per port, so it is possible that is the limit on enabled outputs as well. AFAIK Cakewalk is only considered as ONE port receiver. Others may know differently.

To be fair... for the decades that I spent on large format consoles, if you didn't press the Mute or Solo button 'in the center' it would often not work. That was especially true on Neve, SSL, API, Harrison, and any aftermarket motorized automation fader banks like Audio Kinetics. So maybe my aim is just better than yours. On my screen resolution it's more like the top 3 to 5 pixels, which is far less than the area covered by the active cursor. You could go into the THEME Editor and modify the target area of the graphic in the GUI if you want. Or just get over it. Aim for the middle of the button.?

I suspect that if the Key Commands that you question are NOT bound to the factory defaults, that you may have, at some point in time, hit the <Zap All> button, which erases the supplied default bindings from SONAR 5 onwards {exceptions being the ones marked RSVD}. This shows that they are all still bound in any one of the standard SONAR Keybinding sets that were shipped with the program since SONAR 7 onwards. I concur with you that the functions are not available to re-bind in the verbose function list (which, in this instance, could be an issue), but you should have at least the [SONAR Default Key Assignments.kbn] and [SONAR Legacy Key Assignments.kbn] stored in your C:\Users\username\AppData\Roaming\Cakewalk\Cakewalk Core\Keyboard Binding Sets directory, from which you could restore the defaults, then modify as desired, and save under a custom name. I think that there should be a way to edit the file offline to at least mark some of the unrecoverable bindings as RSVD. I basically started with the SONAR 7 default set and have modified to fit my workflow overtime, and now make regular and timely backups of that file. I will attach the default files here in case you don't have them. SONAR Default Key Assignments.zip Those of us that are road warriors and users of CW since 1987 know that there have been many things overlooked, but I've found very few that I deemed "mission critical", and have always managed to find a suitable workaround.

If it's a "bug", it is only for you: The MSR & A buttons operate as normal, the Input Echo function is a little wonky in that it will toggle the tracks when using CTRL-Clik. (But... I've never had a reason to input monitor all tracks in a folder anyway, so...)

Yes, there is... using automation on the send control.

@John Vere; to me, it appears as though the OP is possibly attempting to operate on a mixed track, and lacks the patience or skill set to understand and use automation, as in applying different EQ, Compression, or other tools. Which, of course, also apply to individual stems as well.

Same reason that you can't open the Event View if there is no MIDI in the project. The SW is smarter than we are. ?

Are you starting with Simple Instrument Tracks (that contain the MIDI notes), or MIDI tracks driving individual VST instruments? I just ran 3 SIT tracks (bass, drums, piano) with MIDI (2 bars), WITHOUT setting up the receiving Audio Tracks first, selected all three clips, used <Tracks><Bounce to Tracks> which opens the Export dialog, set the source to <Tracks> and (starting at track #4) they all printed in order and correctly named in one operation. Then I left the receiving audio tracks in place (deleted the printed clips) and did the exact same <Bounce to Tracks> steering the first MIDI track to the first receiving track, and it also succeeded as expected. This has to be done for EACH "Stack" of clips separately but identically, otherwise it will print an audio track that is the entire length of the sequentially placed MIDI clips. Your issue may be from using PRE-named audio tracks and not steering them correctly inside the Export dialog. If you are using separate MIDI & VST instruments, same thing works IF you select both mated pairs (MIDI & associated instrument track), but again only in "Stacks", as it were. HOWEVER: if you are expecting the printed Audio clips to have the same names as the Source clips, you're outta luck. The resulting audio clips are just named for the source track (bounced). Selecting only the Second set of "Stacked" clips and using <Bounce to Tracks> (steering them again to the first receiving track)... results in this:

Why not just 'Freeze' them in place? It's the 'snowflake' icon on each synth in the synth rack.

You are visiting the wrong forum. You want go ask your questions HERE.

It doesn't really matter much. Copy the track and adjust one with clip gain, the other with track volume, then compare by listening. Do you hear a difference? Well... there's your answer. Do what those of us who are professionals at this do; make a decision, learn to commit to it, finish the project, cash the check, and move on. Don't sweat the small stuff. ?

Deleted - replied to wrong post.

The 'Knee' ratio can affect that as well. I run all solo vocals through a HW channel strip like my Manley Vox Box, so I generally don't have issues later in the chain.

Ever tried the Scrub tool function?

Can you bounce the clips together first? Then split them post-facto if really necessary.

In my experience the MXL v67GS was an excessively noisy mic, only slightly better than the AT 2020, but then it isn't a C12 or u87 so... but I can say that my old Audiobox 96 was reasonably quiet all it's life. If you are using a hardware gate and it chatters when closing, there's something wrong with it. They should close very smoothly, especially if the release time is not too short.

Are you driving your GPU with Open-GL? May try to toggle that on/off and check for any video card driver updates.

While you can float the Console View anywhere you want, the channel, bus, & hardware strips are a monolithic block within that window and can't be separated.

I'll just insert my 2 cents worth of humor here:

I remember when Twelve Tone started the MIDI sequencer (Cakewalk) and would advertise in Modern Musician, Electronic Musician, Mix, and others, and with the introduction of audio editing and Windows 3.0 in '91, stepped up their presence in the trade rags and also at the major trade shows (NAMM & AES). There was still a bit of adverts and show presence, including the time under the Roland umbrella through to the beginning of the Gibson years as "Cakewalk Pro Audio", when Gibson put it on the back shelf to die as SONAR. From about '95 on, there was intense competition from ProTools, Sonic Solutions, and others for market share, and later when PT became native. Add to the mix the plethora of upstarts like Cubase, Nuendo, Studio One, FL, Reaper, et al, and a dwindling desire to market the product, the trade rags (becoming online presence mostly) just forgot about it. Since Bandlab took the reins as a free product, what marketing budget existed outside of forums, word of mouth, and the net, especially when Apple/PT TDM/HD pretty much had the majority market share in the professional realm, and MOBO/CPU's weren't really up to the task of 'unlimited' multitrack sessions until roughly the turn of the century. As for proponents and reviewers, it was out of sight, out of mind pretty much after the Gibson years. And a new paid version of Sonar will have, hopefully, a modicum of marketing budget going forward to increase their market share and improve the product.

I can recreate your signal flow; Metronome output (in Preferences) set to SFX bus, SFX bus output set to AUX 1. Aux track input set to AUX 1 (is it L, R, orS???) bus. Are there ANY EFX instances on the SFX bus bin? You might want to REDO the video with the Track header showing ALL fields, and also the Inspector panel open to Aux 1 & Master (instead of ProChannel. That would help in seeing your routing.

Very similar. I do Pitch/Vib/Vol IRT, but have a category for pickup switch and some other stuff. Took a long minute to set up, but sure is handy, IMHO.

I have a couple of Shreddage Guitars that print with 5 separate Articulation lanes.

Waves home office is in Tel Aviv, Israel. They have local servers in Knoxville in US, but there could be some hiccups with IP addresses cuz, well... ya know...

Before ArtMaps became really usable I would make a MIDI track for the notes performance and another for articulations & controllers. That made it easier to edit the performance by pitch modulation without affecting the CC data. Now I'm 98% in simple instrument tracks cuz I've built over 60 ArtMaps for orchestration.